Academic literature on the topic 'Austria, fiction'
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Journal articles on the topic "Austria, fiction"
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Bushell, Anthony. "FACTS, FICTION, AND FRICTION IN A DIFFICULT RELATIONSHIP:VIENNA AND PROVINCIAL AUSTRIA." German Life and Letters 65, no. 2 (March 2012): 237–52. http://dx.doi.org/10.1111/j.1468-0483.2011.01569.x.
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Lazarus, Suleman. "‘Some Animals Are More Equal Than Others’: The Hierarchy of Citizenship in Austria." Laws 8, no. 3 (July 16, 2019): 14. http://dx.doi.org/10.3390/laws8030014.
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While this article aims to explore the connections between citizenship and ‘race’, it is the first study to use fictional tools as a sociological resource in exemplifying the deviation between citizenship in principle and practice in an Austrian context. The study involves interviews with 73 Austrians from three ethnic/racial groups, which were subjected to a directed approach to qualitative content analysis and coded based on sentences from George Orwell’s fictional book, ‘Animal Farm’. By using fiction as a conceptual and analytical device, this article goes beyond the orthodox particulars of citizenship to expose the compressed entitlements of some racial/ethnic minorities. In particular, data analysis revealed two related and intertwined central themes: (a) “all animals are not equal or comrades”; and (b) “some animals are more equal than others”. All ‘animals’ may be equal in principle, whereas, in practice, their ‘race’ serves as a critical source of social (dis)advantage in the ‘animal kingdom’. Thus, since citizenship is a precondition for possessing certain rights that non-citizens are not granted, I argue that citizenship cannot only be judged by whom it, in theory, excludes (i.e., non-citizens), but also by how it treats the included (i.e., citizens) on the basis of their ‘race’. I conclude that skin colour is a specific aspect of the hierarchy of citizenship in Austria, which reinforces that ‘some animals are more equal than others’.
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Shastina, E. M., and Yu K. Kazakova. "Works of R. Edelbauer in Context of Contemporary Austrian Literature of Early 21st Century." Nauchnyi dialog 13, no. 3 (April 25, 2024): 267–87. http://dx.doi.org/10.24224/2227-1295-2024-13-3-267-287.
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This study explores the novels of contemporary Austrian writer Raphaela Edelbauer (Raphaela Edelbauer, b. 1990) “The Fluid Land” (Das flüssige Land, 2019), “DAVE” (DAVE, 2021), “The Incommensurables” (Die Inkommensurablen, 2023) in the context of contemporary Austrian literature of the early third millennium. The relevance of the research is driven by the necessity to comprehend the trends in Austrian literature during an era of global changes. It is revealed that, on one hand, the author continues the traditions of Austrian literature of the second half of the 20th century, particularly on a thematic level (Austrian identity, overcoming the past, the false idyll of provincial Austria, conflicts between fathers and children, etc.), while on the other hand, delving into pressing contemporary issues (transhumanism, artificial intelligence, etc.). The concept of fictionality is central to the analysis, exploring the ways and specifics of its implementation in the artistic text in alignment with the author’s communicative intentions. Special attention is given to Edelbauer’s individual style, the uniqueness of narrative organization in the examined genre varieties (parable novel, science fiction novel, historical novel), and the quest for a “personal” language. The novelty of this research lies in the fact that Edelbauer’s work, distinguished by prestigious literary awards in Austria and Germany, has not been a subject of study in Russian literary studies.
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Akasheva, Tatiana V., Nuriya M. Rakhimova, and Alexandra D. Zharkova. "FUNCTIONAL ROLE OF GASTRONOMIC AUSTRICISMS IN A LITERARY TEXT." Sovremennye issledovaniya sotsialnykh problem 15, no. 4 (December 30, 2023): 36–48. http://dx.doi.org/10.12731/2077-1770-2023-15-4-36-48.
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Background. The Austrian Reading Room Organized, which was founded on the basis of MSTU named after G.I. Nosov more than 10 years ago, has become a platform for the implementation of educational, career guidance, cultural and scientific projects, providing university students with the opportunity to read both classical and modern Austrian literature.
However, when reading, students often experience difficulties as texts normally contain typical Austrian lexemes and expressions due to the pluricentric nature of the German language. In this regard, there is a need for a linguistic analysis of the territorial functioning of the German language in Austria from the standpoint of an adequate understanding and interpretation of a literary text, which explains the relevance of addressing this topic.
Purpose. To identify and typologize austricisms that express gastronomic names being relevant for understanding and interpreting a literary text, as well as to analyze their functional load in the space of a literary text.
Materials and methods. The main research methods are the analysis of scientific literature by Russian and foreign scientists on the problem of the pluricentricity German language, continuous sampling, functional analysis of text fragments, and contextual analysis.
Research results. During the study, texts of classical and modern Austrian literature were analyzed, gastronomic austricisms were identified and typologized, and their functional load in a literary text was described.
Practical implications. The results obtained can be used when reading Austrian fiction for a deeper interpretation, as well as when teaching students German as a foreign language.
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Mašek, Petr. "Knihovny na zámku Konopiště." 66-1-2 66, no. 1-2 (2021): 79–86. http://dx.doi.org/10.37520/amnpsc.2021.006.
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The first library at Konopiště Castle was built by František Karel Přehořovský of Kvasejovice at the turn of the 18th century, but it was later scattered and its traces can be found in various places. After the sale of the castle in 1887, the second library, established by the counts of Wrtba, was moved to Křimice Castle. The current library was founded by the new owner of the castle, Archduke Franz Ferdinand of Austria. He had brought to Konopiště an older library created by the counts of Fünfkirchen and the counts of Stadion-Warthausen from Chlum Castle near Třeboň. He also added the library of his father, Archduke Karl Ludwig. Franz Ferdinand received a number of books as gifts from their authors. He supplemented some fiction books with evaluation notes. The library contains legal, political and historical works, especially on the history of Austria and the Habsburg dynasty, as well as works on hunting, natural sciences and militaria. It can be assumed that the library was also enriched by his wife Sophie, Duchess of Hohenberg, and their children, who signed mainly textbooks and works for youth.
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Reynolds, Matthew. "On Judging the Oxford-Weidenfeld Translation Prize." Translation and Literature 17, no. 1 (March 2008): 65–69. http://dx.doi.org/10.3366/e096813610800006x.
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The Oxford-Weidenfeld Translation Prize, funded by Lord Weidenfeld and by New College, The Queen's College, and St Anne's College in Oxford, is awarded annually. It is judged by a panel of three Oxford acadamics and/or translators, plus a guest judge from the wider literary world. The 2007 shortlist consisted of modern novels from France, Austria, and Norway; the selected poems of a contemporary German poet; three volumes of the writings of a Swiss dramatist, essayist, and story-writer; and a parallel-text version of Dante. The field of eligible books published during 2006 had of course been far larger, and was also wider-ranging, for the Oxford-Weidenfeld Translation Prize is for Englishings of prose fiction, poetry, and drama from living European languages. I have been a judge for the last four years now, and each time, when faced with the pile of eighty-odd entries, the multiple source languages (a few known to me, most not), the gamut of genres – from crime fiction and chick lit through Dumas (say) to Tolstoy and the poetry of Rilke or Kaplinski; not to mention the variety of translation challenges and ways of meeting them, from the exfoliation of a much-translated classic to the acute responsibility of introducing a writer for the first time, from the fairly straightforward demands of genre fiction to the peculiar meld of liberty and rigour required by the translation of poetry – each time, when faced with all this, I have asked: How on earth do you set about it? How can such incommensurables be compared?
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Rees, Kathy. "The Heinemann International Library, 1890–7." Translation and Literature 26, no. 2 (July 2017): 162–81. http://dx.doi.org/10.3366/tal.2017.0287.
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William Heinemann's first major publishing venture was the ‘Heinemann International Library’ edited by Edmund Gosse. This grew into a series of twenty works of fiction translated into English. Notable for introducing Victorian readers to cultures as unfamiliar as those of Austria, Bulgaria, and Poland, the series is sometimes viewed as illustrating the growing British interest in little-known European literatures. An examination of the interactions between authors, translators, publisher, and editor, together with a sample of comments by contemporary reviewers, suggests, however, that this series of mostly realist novels was more contentious than has previously been recognized. This analysis explores the difficulties of marketing foreign novels in translation, particularly the demand for dynamic equivalence, achieved at the cost of suppressing innovative stylistic or linguistic qualities.
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Mijić, Ana, and Michael Parzer. "Refugees’ Arriving through the Lens of Fiction: Unveiling the Ambivalences of Hegemonic Expectations." Arts 12, no. 2 (March 14, 2023): 55. http://dx.doi.org/10.3390/arts12020055.
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In this article, we use fiction as a lens to study processes of refugees’ arriving in Austria. For that purpose, we draw on findings from our transdisciplinary and participatory project “The Art of Arriving—Reframing ‘Refugee Integration’” in which we have created a real-world laboratory and examined if and how the meaning-making processes involved in creating and interpreting art can foster reframing “refugee integration” concepts and provide alternative views on the arrival of refugees beyond an assimilationist lens. By inviting and accompanying artists from different cultural realms (literature, music, and photography) and with different refugee experiences during the process of jointly creating an artwork as well as by getting access to the recipients’ interpretations of these artworks, we gained insights into the various ways that artistic practices unveil and contest common hegemonic expectations that shape the processes of refugees’ (and other migrants’) arriving. Our analysis of the short story “Außen vor” (“Being [left] out”) written by Hamed Abboud, Anna Baar, and Mascha Dabić—of its creation and reception process—contributes to the ongoing debates on how refugees’ artistic practices can serve as means of cultural and social transformation.
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Miceli, Barbara, and Katarzyna Kaszorek. "Metoda analizy wizualnej dzieł Brunona Schulza w pracach Paola Caneppelego „La Repubblica dei Sogni” i „I Capelli della Cometa”." Schulz/Forum, no. 15 (September 24, 2020): 241–47. http://dx.doi.org/10.26881/sf.2020.15.15.
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The reception of the works of Bruno Schulz in Italy has been growing wider and more diversified in the last few years. Among the examples of such a reception there are two essays by Paolo Caneppele: La Repubblica dei Sogni Bruno Schulz, Cinema e Arti Figurative tra Galizia e Vienna (The Republic of Dreams: Bruno Schulz, Cinema and Figurative Arts between Galicia and Vienna, 2004) and I Capelli della Cometa. Di Esseri in Fiamme, Catastrofi Varie e Donne in Bicicletta (The Hair of the Comet. Of Beings on Fire, Various Catastrophes and Women on the Bicycle, 2008). Caneppele, whose main research interest is in cinema, analyzes Schulz’s work through the lens of the visual, thus providing a theory according to which everything produced by him (prose and paintings) is influenced by the aspect of vision, color, and movement. The aim of this essay is not only to acknowledge this particular reception of Schulz in Italy (and in Austria as well, as Caneppele is the head of the film related material collection of the Austrian Film Museum in Vienna), but also to retrace the visual path embodying cinema, plastic arts, and fiction in his work, which is a strand of studies that can be furtherly expanded and explored.
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Ragozin, German. "“The Middle Ages on Imperial service”: Czech, Hungarian and Polish historical images in works by Franz Grillparzer, 1825–1830." Slavic Almanac 2022, no. 3-4 (2022): 335–55. http://dx.doi.org/10.31168/2073-5731.2022.3-4.4.01.
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The paper deals with historical images of non-Germanic peoples living in the Austrian empire and presented in romanticist fiction. The author analyzed several narratives from the heritage of Franz Grillparzer, the Austrian writer and dramatist. He referred to images of Czech, Hungarian and Polish medieval and early modern history. The chosen dramas are “Fortune and Fall of the king Ottokar” and “A Faithful servant to his Lord”, and the novella “A monastery in Sandomir”. They had a significant role in forming the image of non-Germanic Habsburg realms medieval history for subjects of the Empire. Romanticism and medievalism dominating in the European and Austrian public opinion and politics have put an impact on perception of Czechs, Hungarians and Poles by the German community of Austria. Despite the fact, that medieval narratives got the attention from national movements, Grillparzer referred to them basing on the Austrian conservatism. In this way his works enforced the Habsburg myth and “organic constitution” for the state. The author came to a conclusion that images of Czech, Hungarian and Polish medieval and early modern history presented in works by Grillparzer have filled the gap in official historical memory. It became possible due to overweighting Austro-German and Habsburg emphasis in official discourse, what gave a certain ground for national movements and became a disadvantage for official historiography. Appeal to dynastic patriotism and legitimism has got a certain enforcement with reflections on disunity of Hungarian, Czech and Polish elites. According to the author, the mobilization of the elites was to illustrate the thesis and to promote the official version of the Habsburg empire history.
Dissertations / Theses on the topic "Austria, fiction"
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Davidson, Elizabeth Macleod. "Women's writing in exile : three Austrian case studies, Veza Canetti, Anna Gmeyner, Lilli Korber." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:17215528-0abb-41d2-8f22-883fc185e7c9.
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Despite the recent increase in scholarship on the subject of the female experience in exile, there is still much to be done. Exile scholars now have at their disposal an abundance of broad, general overviews of the circumstances and fates of displaced women writers, but a dearth of scholarship that considers specific literary works in an individualised fashion still exists. This is especially true of those female writers who have only recently been 'rediscovered', such as the three under discussion in this thesis. This thesis explores in detail the exile writings of Veza Canetti, Anna Gmeyner, and Lili Korber, about which little scholarship exists, and uses them as case studies to illuminate the situation of exiled women writers in general The exile works of these three authors repay study both for their own literary merits and for what they can tell us about the individual experience of exile. In their broad similarities, these writers also provide us with case studies of the larger experience of authorial exile - particularly, but by no means exclusively, the gendered experience - that allow us to derive more general lessons about the influence of forced flight on literary art. By giving due consideration to work produced in exile, this thesis calls into question some of the generalisations commonly found in recent scholarship and demonstrates that, despite hardsrnps and setbacks and contrary to common scholarly contention, all three women continued to write well into their exile years and that in those years they took their writing in new, skilful, and creative directions.
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Pineau, Noémi. "Pensée et écriture du réel : pour une interprétation de l'oeuvre d'Ilse Aichinger de 1945 à 2006." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC032.
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Cette thèse de doctorat se donne pour objet d’analyser la notion de réalité dans l’oeuvre d’Ilse Aichinger, née en 1921 à Vienne. Cette recherche s’attache à la réflexion théorique de l’auteure sur les relations entre littérature et réalité, ainsi qu’aux différents aspects textuels de l’écriture de cette réalité. Il s’agit également de replacer la production d’Aichinger dans le contexte de la littérature d’après 1945, au sein de laquelle la réflexion sur la transmission du réel et sur la fonction cognitive de l’écrivain occupe une place essentielle. La première partie de ce travail traite de la place de la fiction dans l’oeuvre et la pensée d’Ilse Aichinger, à travers les notions de fictivité et fictionalité. Cette analyse est complétée par une réflexion sur le statut de la fiction dans le contexte de la production et de la réception des textes littéraires de cette auteure. Le savoir constitue la seconde approche de ce travail sur la notion de réalité. Nous caractérisons dans cette partie le statut du savoir au fil de l’oeuvre d’Aichinger, pour ensuite nous intéresser à ses mises en oeuvre spécifiques, telles que le savoir subjectif ou l’intuition. Pour finir, cette recherche se consacre à l’étude de deux articulations de la réalité plus spécifiques à la littérature. Il s’agit d’une part de traiter la notion d’artificialité textuelle,ce qui aboutit à une réflexion sur l’authenticité et le statut de l’imaginaire chez cette auteure. Une étude de l’évolution des structures narratives dans l’oeuvre d’Aichinger vient conclure cette thèseThis doctoral research analyzes the statute of the reality notion within Ilse Aichinger’s literature. It focuses on her theoretical cogitation about the connection between literature and reality and on the different textual aspects of her writing about reality. We also tried to set Aichinger’s production back in the context of literature after 1945, in which cogitation about transmission of reality and about the cognitive function of writers plays a great part.The approach of the first part is the importance of fiction through the concepts of fictivity and fictionality. This analysis is completed by a cogitation about fiction in the context of literature production and reception. Knowledge is the second approach of this research about reality. In this part, we first characterize the status of knowledge in Aichinger’s literature and secondly describe some particular examples which are characteristic for Aichinger’s writing, as subjective knowledge or intuition. We finally analyze two different ways of writing about reality in literature. The study on the artificiality of the literature text leads to a reflection about the meaning of authenticity and imagination by this author. We conclude this research by analyzing the changing of narrative structures in Ilse Aichinger’s literature
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Bolton, Philip Joseph. "Staat, Stadt, Subjekt : the body and the city in contemporary Austrian fiction." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/5904/.
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Since the publication in 1960 of Hans Lebert’s, Die Wolfshaut, Austrian fiction has been dominated by the so-called Anti-Heimatroman or ‘critical regional novel’, which deploys the provincial setting as a key vehicle for the socially-critical representation of the Austrian nation. Such is the dominance of the Anti-Heimatroman that critics have identified a concern with regional Austria as one of the few constants of post-war Austrian writing. In the vast majority of the literature produced since the 1960s, therefore, Vienna has no role to play; the capital has occupied only a marginal position on Austria’s literary landscape. Recently, however, critics have acknowledged a return to the city in Austrian fiction. This thesis provides the first detailed account of this ‘urban turn’, focussing on the question of how the literary text’s socially-critical function has evolved as a result of the transition from province to metropolis. Placing its focus at the intersection of the body and (primarily urban) space, it provides readings of five novels published during the 1990s and 2000s. Its five case studies draw on the work of Michel Foucault and Walter Benjamin to explore the role that the subject’s interaction with urban topographies plays in contemporary literature’s critical engagement with Austrian realities. Chapter One challenges the established view that the Anti-Heimatroman became obsolete during the 1980s. It examines the construction of the gendered Heimat in Norbert Gstrein’s Das Register (1992), and explores in particular the extent to which Gstrein’s work draws on the generic norms of the Anti-Heimatroman. Turning to novels that are set in Vienna, subsequent chapters isolate two phases in the evolution of literature’s engagement with the realities of present-day and historical Austria. Readings of Lilian Faschinger’s Wiener Passion (1999) and Doron Rabinovici’s Suche nach M. (1997) show that during the 1990s, the city replaces the province as a privileged backdrop for critical engagement with the problematic discourses that structure Austria’s post-war identity politics. By contrast, the post-Jahrtausendwende texts discussed here, Arno Geiger’s Es geht uns gut (2005) and Thomas Stangl’s Ihre Musik (2006), are marked by a turn inward, as writers become more interested in the emotional, psychological and existential orientation of the urban subject. But this turn inward results ultimately in a shift outward, enabling Austrian writers to focus on more universal socio-political issues. This thesis explores the development of literary engagement with Austrian realities during two decades of Austria’s literary history that remain conspicuously under-researched. The contemporaneity of the urban turn demands a critical focus on younger authors who have traditionally stood in the long shadows cast by their better-established colleagues. This unconventional approach, which leads away from the Austrian canon, is the source of second contribution that this thesis makes to Austrian Studies. By engaging explicitly with novels produced by younger authors, this thesis asks what the work of newer constellations of Austrian writers can tell us about the changing status of literature, and of its relationship to the society of which it is a product.
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Helen, Maureen. "The back flats." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/851.
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This thesis comprises two interrelated sections. The first is a Piece of creative writing, a period novel, The Back 'Flats, which is set in the coastal hamlet of Greenough in Western Australia in the years 1887-1888. The twin themes of the novel are the resolution of maternal grief and Irish settlement in Western Australia. The second section is an essay concerned with the arrival of Irish people to Australia in the nineteenth century and, the influence they exerted on the culture of the developing nation, demonstrated through history and contemporary novels. The Back Flats is about a group of Irish Catholic settlers in a rural area as they experience the effects of the death of their baby girl from pneumonia on the mother, Kate O'Brien. The close-knit community has a superstitious fear of madness, which they believe can result if a woman withdraws from family and friends as part of her mourning process. An old woman whose baby died many years previously, and who was incapacitated by the death for years afterwards, now suffers from dementia. The Villagers think that the old woman’s condition is proof of what may happen to Kate. During a major flood caused by cyclonic rains at the source of the Greenough River, Kate and the old woman are thrown into close proximity. While she comforts the old Woman, Kate recognises that the other woman is not a threat to her or to her sanity. Irish convicts and freed immigrants accounted for a third of all immigration to Australia in the first century following the arrival of the First Fleet and the beginning of white settlement. The essay describes the settlement of the Greenough region from the early 1850s and the immigration of Irish people to Australia with particular reference to Irish women. It also places The Back FIats in a context of Australian literature about Irish convicts, immigrants, settlers and wanderers.
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Foster, Ian. "The image of the Habsburg Army in Austrian prose fiction, 1888 to 1914." Thesis, University of Cambridge, 1989. https://www.repository.cam.ac.uk/handle/1810/272628.
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Jackson, Laura McGee. "Negotiating identity : mother-daughter relationships in novels by Jutta Heinrich, Elfriede Jelinek, Waltraud Anna Mitgutsch and Helga Novak /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9932.
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Paton, Elizabeth, and n/a. "Creativity and the Dynamic System of Australian Fiction Writing." University of Canberra. Communication, 2008. http://erl.canberra.edu.au./public/adt-AUC20090825.125448.
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Given the growing interest in fiction writing in Australia, seen in the rise in the number of
festivals, writers' centres, how-to books, biographies and creative writing classes, it is
surprising that very little research has been done within Australia on the nature of literary
creativity itself. A review of international literature on creativity from areas such as the arts,
history, psychology, sociology, cultural studies, business and education shows movement
away from traditional and conventional ideas of creativity that focus primarily on the
individual, towards more contextual approaches that reconceptualise creativity as the result of
a dynamic system at work. Mihaly Csikszentmihalyi's tripartite model of creativity, which
includes a field of experts, a domain of knowledge and an individual author, has been
successfully applied to the arts and sciences in North America. It is argued that the systems
model is also relevant to Australian fiction writing, a term which is used here to include
novels in literature, popular fiction and genre fiction categories.
This thesis is primarily based on in-depth interviews with 40 published Australian fiction
writers. With over 400 publications between them, the individual writers interviewed
represent a broad cross section of Australian fiction categories at both the national and
international level. In addition to literary writers like Carmel Bird and Venero Armanno, this
sample also incorporates writers in other genres such as Di Morrissey and Nick Earls (popular
fiction), Paul Collins (science fiction and fantasy), Anna Jacobs (romance), Peter Doyle
(crime) and Libby Gleeson and Gary Crew (children's and young adult fiction). Although the
individual writers possess unique combinations of characteristics, biographies and processes,
their collective responses demonstrate common participation in systemic processes of
creativity.
By analysing these responses in terms of Csikszentmihalyi's systems model, this thesis
presents evidence that demonstrates a system of creativity at work in Australian fiction. The
analysis of the collected data provides evidence, firstly, of how writers adopt and master the
domain skills and knowledge needed to be able to write fiction through processes of
socialisation and enculturation. Secondly, it is also the contention of this thesis that the
individual's ability to contribute to the domain depends not only on traditional biological,
personality and motivational influences but also socially and culturally mediated work
practices and processes. Finally, it is asserted that the contribution of a field of experts is also
crucial to creativity occurring in Australian fiction writing. This social organisation,
comprised of all those who can affect the domain, is important not only for its influence on
and acceptance of written works but also for the continuation of the system itself. The
evidence shows that the field supports further writing as well as writing careers with many
authors becoming members of the field themselves.
In sum, the research demonstrates that, rather than being solely the property of individual
authors, creativity in Australian fiction writing results from individuals making choices and
acting within the boundaries of specific social and cultural contexts.
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Herbert, Elanna, and n/a. "Hannah�s Place: a neo historical fiction (Exegesis component of a creative doctoral thesis in Communication)." University of Canberra. Communication Media & Culture Studies, 2005. http://erl.canberra.edu.au./public/adt-AUC20070122.150626.
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The creative component of my doctoral thesis articulates narratives of female
experience in Colonial Australia. The work re-contextualises and re-narrativises
accounts of events which occurred in particular women�s lives, and which were
reported in nineteenth century newspapers. The female characters within my novel are
illiterate and from the lower classes. Unlike middle-class women who wrote letters
and kept journals, women such as these did not and could not leave us their stories.
The newspaper accounts in which their stories initially appeared reflected patriarchal
(and) class ideologies, and represented the women as the �other�. However, it is by
these same textual artefacts that we come to know of their existence.
The multi-layered novel I have written juxtaposes archival pre-texts (or intertexts)
against fictional re-narrativisations of the same events. One reason for the use of this
style is in order to challenge the past positioning of silenced women. My female
characters� first textual iterations, those documents which now form our archival
records, were written from a position of hegemonic patriarchy. Their first textual
iteration were the record of female existence recorded by others. The original voices
of the fictionalised female characters of my novel are heard as an absence and the
intertext, as well as the fiction, now stands as a trace of what once existed as women�s
lived, performative experience.
My contention is that by making use of concepts such as historiographic metafiction,
transworld identities, and sideshadowing; along with narrative structures such as
juxtaposition, collage and the use of intertext and footnotes, a richer, multidimensional
and non-linear view of female colonial experience can be achieved. And
it will be one which departs from that hegemonically imposed by patriarchy. It is the
reader who becomes the meaning maker of �truth� within historical narration.
My novel sits within the theoretical framework of postmodern literature as a variant
on a new form of the genre that has been termed �historical fiction�. However, it
departs from traditional historical fiction in that it foregrounds not only an imagined
fictional past world created when the novel is read, but also the actual archival
documents, the pieces of text from the past which in other instances and perhaps put
together to form a larger whole, might be used to make traditional history. These
pieces of text were the initial finds from the historical research undertaken for my
novel. These fragments of text are used within the work as intertextual elements
which frame, narratively interrupt, add to or act as footnotes and in turn, are
themselves framed by my female characters� self narrated stories. These introduced
textual elements, here foregrounded, are those things most often hidden from view
within the mimetic and hermeneutic worlds of traditional historical fiction. It is also
with these intertextual elements that the fictional women engage in dialogue. At the
same time, my transworld characters� existence as fiction are reinforced by their
existence as �objects� (of narration) within the archival texts. Both the archival texts
and the fiction are now seen as having the potential to be unreliable.
My thesis suggests that in seeking to gain a clearer understanding of these events and
the narrative of these particular marginalised colonial women�s lives, a new way of
engaging with history and writing historical fiction is called for. I have undertaken this
through creative fiction which makes use of concepts such as transworld identity, as
defined by Umberto Eco and also by Brian McHale, historiographic metafiction, as
defined by Linda Hutcheon and the concept of sideshadowing which, as suggested by
Gary Saul Morson and Michael Andr� Bernstein, opens a space for multiple historical
narratives.
The novel plays with the idea of both historical facts and historical fiction. By giving
textual equality to the two the border between what can be considered as historical
fact and historical fiction becomes blurred. This is one way in which a type of textual
agency can be brought to those silenced groups from Australia�s past. By juxtaposing
parts of the initial textual account of these events alongside, or footnoted below, the
fiction which originated from them, I create a female narrative of �new writing�
through which parts of the old texts, voiced from a male perspective, can still be read.
The resulting, multi-layered narrative becomes a collage of text, voice and meaning
thus enacting Mikhail Bakhtin�s idea of heteroglossia.
A reading of my novel insists upon questioning the truthfulness or degree of reliability
of past textual facts as accurate historic records of real women�s life events.
It is this which is at the core of my novel�an historiographic metafictional
challenging by the fictional voices of female transworld identities of what had been
written as an historical, legitimate account of the past. This self-reflexive style of
historical fiction makes for a better construct of a multi-dimensional, non-linear view
of female colonial experience.
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Dahlstrom, James. "Imagining Australia: The Struggle to Locate Australian Identity in Peter Carey’s Early Fiction." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15356.
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In this thesis, I examine in Peter Carey’s early fiction the portrayal of Australia’s struggle to imagine a unique identity for itself. Three different, but overlapping, approaches will be woven together to serve as a lens through which his work can be read. First, it will be useful to situate the work within the context of Australian history and popular culture, which suggests an obsessive search for an “authentic” Australian identity, as well as the theoretical work on the social construction of such identities. Second, I will draw upon the work of Benedict Anderson, paired with that of Pheng Cheah, as a means of discussing the comparative process by which national identities are imagined and how those imagined identities emerge in cultural productions. In particular, I examine the typically unique characteristics and ideologies that are used as a basis when imagining national identities, as many of Australia’s are shared with both Britain and America. I will therefore engage with concepts like “totality,” “unisonance” and “seriality” as a means of discussing Carey’s work. Moreover, I will be utilising Louis Althusser’s concept of national ideology as a means of explicating Anderson’s and Cheah’s work. Finally, since the intersection between the national and the transnational is often conceived of in post-colonial language, especially in terms of Australia’s relationship to Britain and the United States, this thesis will draw on the work of post-colonial theorists like Bill Ashcroft, Gareth Griffiths and Helen Tiffin, Homi K. Bhabha, and Edward Said.
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Bowman, Christopher M. "Gallery of the Past: Writing Historical Fiction with 19th Century Photography in Canada and Australia." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365910.
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This thesis, consisting of a novel and dissertation, explores the writing of historical fiction, and the use of photography as research in visualising the several settings that the characters inhabit. As the novel is set in the late 19th century, the conventions of Victorian-era photography came to the forefront of the research. The story sees two fictional brothers leave their home on Vancouver Island in Canada, each traveling alone, and each with a different weight on his heart. They find themselves in towns with very real, and very documented, histories, and this is where my research into photography began. Joseph Richard, the younger brother, finds work in the town of Yale, on the Fraser River in British Columbia during the early days of the construction of the Canadian Pacific Railway. Yale was a boomtown and major depot during railway construction, and there are many photographs from the 1880s to chronicle its buildings and denizens, its remote and wild surroundings, its place in history.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Books on the topic "Austria, fiction"
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D. Juan de Austria, ¿héroe o villano? La Poveda (Arganda del Rey) Madrid: Editorial Verbum, 2020.
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Lucila Rodríguez de Austria y Giménez de Aragón. El retrato de don Juan de Austria. Barcelona: Ediciones Martínez Roca, 2000.
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1941-, Mitchell Michael, and Meinhardt Maren, eds. The Babel guide to German fiction in English translation: Austria, Germany, Switzerland. London: Boulevard Books, 1997.
Find full textBook chapters on the topic "Austria, fiction"
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Dorowin, Hermann. "Claudio Magris e i miti della Grande Austria." In Biblioteca di Studi di Filologia Moderna, 101–8. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.12.
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The vast extension of the Habsburg Empire, as well as its heterogeneous cultural and linguistic composition, were both the causes of its richness and demise. This gave way to a debate on the specific traits of Austrian literature, which in 1963 was enriched by Claudio Magris’ degree thesis, published under the title Il mito absburgico nella letteratura austriaca moderna. Starting from the assumptions of a Lukacian-style historicist critique, the book ended up offering a fascinating evocation of the cultural world of great Austria. Together with his subsequent Germanic and non-fiction works (Lontano da dove, L’anello di Clarisse, Danubio), this debut book forms a "Central European tetralogy".
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Bliss, Carolyn. "Australia: the Mystique of Failure." In Patrick White’s Fiction, 1–14. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18327-2_1.
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Kafi, Mohsen. "Wellington Readers' Perceptions of Translated Fiction." In Translating and Interpreting in Australia and New Zealand, 268–88. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003150770-18.
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Muratova, Nataša, and Anna Obererlacher. "Clemens J. Setz on Bursting the Reader’s Reality Bubble." In Truth Claims Across Media, 179–97. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42064-1_8.
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AbstractIn our article, we explore implications that the indistinguishability of factuality and fictionality in literary works may have on an author’s credibility and their role as an authoritative figure. We do this by looking at one question and one answer in the fictional author interview in Bot – Gespräch ohne Autor (2018) by the Austrian author Clemens J. Setz. Currently, Setz is one of the most distinguished writers in the German-speaking literary scene, known for his versatile literary work and authorial staging practices. Bot plays with the public perception of the author persona Setz and stages an imitation game, also known as the Turing Test. Thus, it affects the perception of truth claims traditionally expected in author interviews. To illustrate, we refer to theoretical approaches to forms and functions of author interviews concerning authorship in the context of the so-called culture of presence and show how Bot reveals a playful reflection on the possibilities, limits, and dangers embedded in the perceived truthfulness within the framework of fiction and authorship, particularly in Setz’s.
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Takolander, Maria. "Magical Realism and Indigenous Survivance in Australia: The Fiction of Alexis Wright." In The Palgrave Handbook of Magical Realism in the Twenty-First Century, 173–95. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39835-4_8.
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Zhang, Zifeng. "An Analysis of the Future of YA Print Fiction in Australia and America." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022), 707–13. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_90.
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Elliott, Elizabeth J., and Carol Bower. "Fetal Alcohol Spectrum Disorder in Australia: From Fiction to Fact and to the Future." In Fetal Alcohol Spectrum Disorder, 263–310. New York, NY: Springer US, 2022. http://dx.doi.org/10.1007/978-1-0716-2613-9_13.
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Martin, Susan K. "Good Girls Die, Bad Girls Don’t: the Uses of the Dying Virgin in Nineteenth-century Australian Fiction." In The Unknown Country: Death in Australia, Britain and the USA, 31–44. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25593-1_3.
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"Germany, Austria, and Switzerland." In The Complete Review Guide to Contemporary World Fiction, 84–101. Columbia University Press, 2016. http://dx.doi.org/10.7312/orth14675-006.
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Mochalova, Victoria. "Fiction from “Semi-Asia”: Galicia, Podolia, Bukovina in Karl-Emil Franzos’ Texts." In Laughter and Humor in the Slavic and Jewish Cultural Traditions, 71–88. Institute of Slavic Studies, Russian Academy of Sciences; Sefer, 2021. http://dx.doi.org/10.31168/2658-3356.2021.5.
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The purpose of this article is to analyze the texts of Karl Emil Franzoz, reflecting in an ironic, comic way the peculiarities of the existence of different ethnic groups in the multi-confessional, multicultural region of Galicia, Podolia and Bukovina during their entry into the Habsburg Empire. The sources of the research are short stories and ethnographic sketches of an Austrian writer of Jewish origin, an expert on the way of life and customs of the inhabitants of the eastern provinces of the Austro-Hungarian Empire, which he called semi-Asia due to the contrast of their cultural poles. Analysis shows that an adherent of the ideas of the Enlightenment, K.E. Franzos is critical toward the traditional views of his fellow Jews, but the target of his criticism is also the Christian population. Due to the fact that Franzos combined closeness to both Jewish tradition and European culture, he was able to depict the multicultural situation of Austria-Hungary volumetric, without one-sided pathos and accusatory tonality, while maintaining an ironic distance.
Conference papers on the topic "Austria, fiction"
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Romanovska, Alina. "AUTOBIOGRAPHICITY AS A MECHANISM OF LITERARY CREATION: ANTONS AUSTRINS� PROSE FICTION." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s27.053.
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Zammit, Sarah-Jane. "Notre-Dame as the Memory of Paris: Hugo, the Historical Novel and Conservation." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5050pxtvl.
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Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation. This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation. Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.
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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.
Full textAbstract:
The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
Reports on the topic "Austria, fiction"
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Tyson, Paul. Australia: Pioneering the New Post-Political Normal in the Bio-Security State. Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp10en.
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This paper argues that liberal democratic politics in Australia is in a life-threatening crisis. Australia is on the verge of slipping into a techno-feudal (post-capitalist) and post-political (new Centrist) state of perpetual emergency. Citizens in Australia, be they of the Left or Right, must make an urgent attempt to wrest power from an increasingly non-political Centrism. Within this Centrism, government is deeply captured by the international corporate interests of Big Tech, Big Natural Resources, Big Media, and Big Pharma, as beholden to the economic necessities of the neoliberal world order (Big Finance). Australia now illustrates what the post-political ‘new normal’ of a high-tech enabled bio-security state actually looks like. It may even be that the liberal democratic state is now little more than a legal fiction in Australia. This did not happen over-night, but Australia has been sliding in this direction for the past three decades. The paper outlines that slide and shows how the final bump down (covid) has now positioned Australia as a world leader among post-political bio-security states.